A metaphor of the life: The metamorphosis , a written work, in 1915, of the fist of Franz Kafka, a Czech writer, son of Jewish parents, who lived the damage on the beginnings, as well as the apogee, of World War I.

Its life was not equipped with great feats, because he was timid and antisocial; his father exerted an absolute control on him, moving away it that his pleasure by the Literature, that nevertheless, later managed to recover. Kafka has left great works us - among them: The process, the sentence and America -, of which the metamorphosis is one of the most recognized, since it reflects doubtlessly his life under the strong influence of his father, and the critic of the regime of those years in East Europe.

The work is located within the narrative sort, constituting a story of the fantastic realism, with expresionistas and surrealistas characteristics. During all history, the author shapes situations not outside the normal thing; nevertheless, an aspect that makes comprise of this current is the element of the transformation that undergoes the main personage.

The analysis of the behavior and their context, as well as the apparent one decayed of Gregor and the frequent presence of, deprived tempered, dark surroundings of clarity, turns to the story a worthy hybrid of Literature.

In the metamorphosis, Franz Kafka approaches the subject of the authoritarianism , by means of the history of a commerce traveler, call Gregor Samsa, who wakes up a morning transformed into an insect, turning this one a sin that takes it to undergo the greatest sinsabores on the part of its family, the work and the society. After diverse events, the main personage finishes of a tragic way, whereas their family, nearest him, takes this event like a liberation to follow ahead with their life.

The author raises, of an extraordinary way, his biography, his submission towards his father, giving us to know the consequences and feelings experienced under such authoritarian regime, in where the only error to commit is to have been born within that system. Also, the work at issue is a class from critic to the government of that time, total of subordination and authoritarianism, where the things already are predetermined without explanation nor reason some - as it is observed in the story, as well as the inferiority provoked by the fact of being Jewish.

Referring us now to the external structure, we can observe that the text is divided in four devoid parts of name. This having perhaps, to the refusal of the author to give a hierarchy to the chapters, because its life is based on a system of this type; this way, the absence of names creates an equality between the parts of the work, without one seems more important that the other - not, to more easily direct us to the chapters, we will grant a descriptive name to them.

In the first part,” labor Authority”, the main personage is faced its head, who after awhile of delay, speaks with Gregorio through the door.

When seeing the reaction of the main one, leaves already turned an insect, causing the exaltación of the personages in the scene. In “brotherly Authority”, Grete the sister of Gregorio, seems to be the one who now has the control, because she is the one in charge of the survival of Gregorio when entrusting itself to give him to eat, and to clean a little; nevertheless, the power is not exerted of a total and authoritarian way, as it appears in the other chapters. “Paternal Authority” is the part centered in the fit of the father, who is originated by the supposed aggression of Gregorio towards his mother, beginning therefore the hostile attitudes that take to the gradual disdain by Gregorio.

The last part, “Social Authority”, is called thus because the authority is in this part where is exerted by three representing guests of the society, although not towards Gregorio, towards the whole family. Chapters of this work are strongly related to his author and time, since already we have mentioned before, since he himself Franz Kafka underwent the forced subordination of his father and the society in which she lived, as well as the care on the part of his sister when she became ill of tuberculosis.

Happening to the internal structure, the exposition sees initiate by a as alarming event as the climax: the metamorphosis of Gregorio in an insect.

When being developed history, the different aspects in which the life of Gregorio is affected, and the events happened during their state are observed (located this in “Labor Authority”, “Brotherly Authority” and a part of “Paternal Authority”).

Nevertheless, these events that become daily, are interrupted by the faint of the mother in “Paternal Authority” (climax), attributing to the main personage a fault that is punished with the attitude of Mr. Samsa when throwing to him apples, fact that in the end Gregorio hurts, taking it to their tragic outcome.

History is raised by a extradiegético narrator, with sporadic interventions of the direct style; in few occasions, the extradiegético narrator inmiscuye in the direct style, giving an idea of superiority before such case. The omnisciente narrator could be in the representation of the authority that puts under the direct style, thus occupying in his majority the interventions in the work, providing to him the power of the narration.

On the other hand, the time in which the story is developed, is a linear time, without digresiones, that provides a easy understanding in the course of the events, thus to show the progressive authority to us exerted by the diverse types of relation presented/displayed there.

Without a doubt, all the work aims at which was the life of Kafka, shaping to this one like an insect, analog to the fact of being Jewish, that besides to live under the command to its father, underwent scorns that, sometimes, a feeling of inferiority and fault in him caused.

Phrases like: “For that reason there was he begun to work with such zeal, being become […] of employee without importance, in everything a commerce traveler. ”, “Innumerable legs, lamentably escuálidas […]”, “[…] what would happen if I continued sleeping […] and it forgot to me all the fantasies? ”, “Gregorio encontrábase […] separated of the mother, who, by fault hers, hallábase […] in death critical moment”, along with other appointments more, demonstrate it, because indeed, Kafka was employee of his father, but time later obtained a work similar to the one of Gregorio.

Also, “escuálidas” they give idea us of weak how and sickly she was Kafka, and also the question before mentioned, reflects its desire to leave the reality. The fact to feel a tiny beast to us under such circumstances, can cause in us certain alterations that take to think illogical things to us, or believe in inexplicable or nonexistent events, as it is reflected in the previous pains Gregorio to the metamorphosis.

As far as the simbología, certain elements exist that aim directly at which is the subject. The word appears in repeated occasions “head”, like the head of Gregorio and the head of the bed. This word is related to the authority, that is represented like the head, upper of the things in the hierarchy, which also takes us to the fact that Gregorio once thought about the action of the main one when seating on the writing desk, denoting its superiority.

The intervention of the mother when affirming that Gregorio did not have another thing in the head more than the warehouse, suggests the great importance that the main personage gives to the work then this one him also has mentioned that its priority is to maintain its family and not to leave it single until eliminating its debt.

The presence of the furniture grants still alive a human sense in Gregorio, who the authority - in this case her sister, tries to snatch to him when thinking that he is better him to leave the room without obstacles for his free transit. The table in front of its bed, is a very important and descriptive element in the analogy done of Gregorio-Kafka, because its location suggests an important place (superior) in its lives, and its use: the writing, is an aspect that both share.

The uniform that carries Mr. Samsa when entering to work, still more provides to its presence the authority aspect, which he himself creates and adopts attitudes characteristic of an authoritarian leader, mainly towards its wife and her daughter. Nevertheless, with time it is losing his neatness, announcing to us that it is about to to finalize his mandate, taken then by the three guests.

The element of the apple, represents the original sin, a fault with which all we are born, and that Gregorio suffers of more.

The incrustation of this one in its body, is symbol of the punishment, that takes it death to its, not only by the wound, but by the indifference of its family, who leaves it single, and she forgets him. This aggression towards Gregorio occurs shortly after which this one was obstinate to the crystal with the picture of the woman in skins, which suggests the archetype of Eva subsequent to its sin, it is for that reason it dresses in skins, and the serpent is to his around. Gregorio, then, clings to the mother, to the life, that will come to leave it, carrying to him to his aim, punishment by which Eva is represented of that way.

I attribute to the remainders on which Gregorio feeds itself, the final degradation of its person, who he accepts, and is also accepted by Grete and his parents. The belief of its inferiority is, partly, product of its impotence when not being able to help its parents: that is its frustration. This takes it to the point to please the wastes to him like food, and to reject the worthy thing of a current human, like the others to his around.

In the doors with key, the authority is noticed once again that is exerted in history, when not having Gregorio the ability to open them or to close them due to its state. This is opposed to the faculty that, however, has all the members of the family and other personages to have the doors, as well as of the control on the situation, that all sometimes present/display.

The time is an important factor in the story, because it marks the difference between the supposed misfortune of the Samsa family, and the overcoming of this one, subsequent to the death of Gregorio. The dimmed climate, tempering, rainy are imperative throughout history, to the time that Gregorio undergoes the consequences of his metamorphosis, and the family crosses by certain events.

When dying Gregorio, is observed that the time has improved, and although at the outset the Samsa family cries her death, later recovers her joy, forgetting everything, and watching then towards new projects.

The presence and continuous reference of the clock, denote a certain importance to the time, something to which is subject our main personage, because its work depends on schedules that must be fulfilled. This way, we can locate the time like something vital and superior, which Gregorio is put under, taking again to our subject: the authority.

As far as the form of the story in general, we observed that in the text the verbal style predominates on the noun, due to the dynamism with which passes the work, and the meager description that is granted to him to the surroundings, limiting itself the most fundamental details; and he is that the attention goes of an exclusive and prevailing way towards the action, leaving us with the little admiration of the poor surroundings that are described.

In their majority, the verbs are conjugated to the imperfect, - as it contrasts with before mentioned, nevertheless, the description is own of the events that are provoked, providing one better perception to us of the action. It is precise to indicate that the conjugación of these verbs does not locate to us in a determined time, making the history in which the history happens, in spite of the frequent interventions of the perfect one that yes locates to us within the story, but never at the time unpredictable.

The presence of compound and complex orations, indicates the way about which the author thought, and in this case, the complicated existence that Gregorio presents/displays. Certain it is that Kafka lived a simple life, nevertheless, his psychology, as well as the one of our main personage, one became complicated. Therefore, which thinks that it is a life without action, singsong, and under the decision of the others, can be in an alteration of our thought.

On the other hand, in the search of a fragment to analyze (that more ahead will discuss), I have found two figures rhetorical that they called specially my attention.

In page 12, we found a singular hipérbole: “Thousand times this operation tried in vain” ; such exageración is analogous to the number legs that Gregorio has in his new state, and that cannot control, as well as its desire to change of position. This way, Gregorio is disabled in his body, does not have to be able nor regulation on him, as he either does not have it with his life.

In the same way, in pages like the 13, the 18 and the 50, we noticed tropo of the rhetorical interrogation, of which the story is total.

Sometimes, this figure is of repetitive form, that is to say, when a question finishes, another one is formulated next. Due to this, we inferred that the author, as well as Gregorio, have the strong rain of questions, that they do not require of answer, but that make it to present their confusion and uncertainty before the things, as well as the complexity of which their minds are imprisoned. Also, we observed that each formulated question talks about our subject of the authority, some times not in particular, but in its different aspects maintaining its essence.

Now we will go to the analysis of the form of the annexed fragment. As far as the lexicon-semantic plane, we found in line 2 the appearance of an antithesis, formed by the adjectives “flat” and “dry”, that are opposed to the previous constitution of Gregorio, which was described like round and something slimy, when leaving a this one substance of this texture. The first adjectives mark of a rigid way the change is had provokes in the body of Gregorio; when dying this one, loses most similar than it had the man: humidity and something of form in its body. With this all his inferiority it is reduced to anything, succumbing before the strong authority of which she was victim.

We identified one now hipérbole in líneas19-20: “flooded of clarity” . After a period of cloudiness, the light to the aim appears, and appears exactly to the death of Gregorio. The vast clarity to which reference becomes, corresponds to the authority in its Maxima expression; Mr. Samsa and his wife, her daughter, the charwoman and the three guests were within the room to a certain time (although different), “flooding it” that their authoritarian attitudes.

Since we have already mentioned, the complex and composed orations are in favor of all sides in the text, even in this fragment of forty lines, safe in some interventions of the direct style, and in their defect, the simple orations.

The simple orations in lines 11 and 14, suggest a fact that provides important information: how it is important the factor of the time in history ( “it was just by the end of March”) - since already we have mentioned, and the evident disappearance of the authority of the three guests when reading the appointment: “They had forgotten Them” .

As we can observe in the annex, great marks related to our subject exist. In line 3, the fact that their “patitas” (in diminutivo) no longer maintain it, denotes how weak was already of in case, without at least a control on he himself.

The use of “the ratito” word (in diminutivo) in line 5, is evoked by the mother, who is the only person who never dealed with bad way her son; and still in this point of history, it continues representing that tenderness that inspires a mother, and the fragility of his feelings towards his children, demonstrating so really it loved Gregorio.

In lines 10-11, the time continues aiming at the limit of the two times clearly distinguished in history, taking like datum point the death of Gregorio. In lines 12-13, the action of the three guests to look for its breakfast with the Vista, alludes, once again, to the authority whom until that then they have, and despite they lose, disturbing to that of the three greater importance is attributed (lines 15, 31), as we observed by its new attitude in lines 31, 32, 39 and 40.

The charwoman, when putting its forefinger in the mouth (line 16) to silence to the guests, and their action to call them with “energetic signals” (line 17), reveals one of not very often in which the authority happens to her, because then he is in charge of which happens, although the three men have a supposed superiority before the situation and they show it (lines 20-22).

Nevertheless, this is opacado when appearing Mr. Samsa with its wife and daughter to the sides, suggesting one more a new greater force, than is itself reflected in lines 28 and 36, by the tone in which she goes to his renters, recovering therefore the authority that she had had from always.

Finally, the metamorphosis, belongs, without a doubt, great works of century XX, because not only it enjoys the entertainment for the reader, and their analysis, but that represents what a man can live, how single can get to feel until the most tragic point.

This story I read it when she was small, nevertheless, had not understood what this work really meant, until I had the opportunity to observe it and to analyze it, and in the end to include/understand what is. All this lead to my change of perception, that is not limited only the appreciation, but to a taste by the reading of the metamorphosis, that even locks up that one that as much gets passionate to me, and that is by the critic of the policy of the government systems.

The body of Gregorio appeared comple- indeed

flat and tamente dry. This, they only found out now, by

that no longer they maintained its patitas, and nothing to it separated from him

watched.

- Grete, vente a ratito with us said the lady

Samsa smiling melancholically.

And Grete, without letting watch towards the corpse, followed a

its parents to the alcove.

The charwoman closed the door, and opened the pair window

in pair. He was still very early, but the air had already, in

its coolness, certain tepidity. It was just by the end of March .

The three guests left their room and looks for

rum with the Vista its breakfast. They had forgotten them .

- And the breakfast? - preguntóle to the charwoman with badly

humor the gentleman, who seemed to be most authorized of the three.

But the charwoman, putting itself the index before the mouth, in

vitó quiet to the gentlemen, with energetic signs, to in

to trar in the room of Gregorio.

They entered, then, and there they were in the quarter floods

do of clarity, around the corpse of Gregorio, with expre-

disdainful sión and the hands sunk in the pockets of his

something abraded chaqués.

Then, the door of the alcove was opened, and appeared

Mr. Samsa, contained in its librea, taking of an arm a

its woman and of the other to its daughter. All had plans of having llo-

rado something, and Grete hid the face from time to time against

the arm of its father.

- You immediately Leave my house - she said

Mr. Samsa, indicating the door, but without loosen to the women.

- What you try to give to understand with this? - pre-

guntóle most authorized of the gentlemen, something disturbed,

and smiling with timidity.

The other two had the hands crossed to the back, and

they rubbed one with another one incessantly, as if they waited for go-

zosos a fight, whose result had to be to them favorable.

I try to give to understand exactly what I say

- Mr. Samsa answered, advancing with his two acompa-

ñantes in a single line towards the guest.

This one remained a shut up and calm point, with

watched it fixes to the ground, as if their thoughts went away or-

ganizando in a new disposition within his magín.

Kafka, Franz. The metamorphosis, original Title: Die Verwandlung, Translation of Jorge Luis Borges. Ed. Losada, Argentina 1997, pp. 75